#but fr i need to put him on challengers soundtrack | Explore Tumblr posts and blogs

soartfullydone · 1 year ago

Text

I finished my first bg3 playthrough and just need to ramble about act 3 things specifically (spoiler-heavy, don't read this)

There's so much about this game that's great. But so much of act 3 made me go from :D to :/ like people were not kidding about how unpolished it feels. There's some positive thoughts here, but there's also a LOT of critique sooo don't read this probably fr fr.

The amount of bugs are egregious in act 3. I normally have a high threshold for bugs in games. They happen. So long as I don't lose gameplay hours over them, I'm pretty fine. But omg, I finally found my threshold. Just so much that distracted and detracted from cutscenes, from character moments, from the immersion of it all. It's hard to praise Larian for showing up the AAA studios when they turn around and actually do much the same as them: rush an unfinished product to launch. BG3 should've been worked on another year at least so the poor devs wouldn't have to go through the crunch time they are as I type this.

Acts 1 and 2 feel very tight and cohesive, act 1 especially (and I swear, act 2 was the shortest, easy, and yes, I did everything), but in act 3, you start to see so many holes, so many quest lines abandoned, rewritten, and unfinished. Quick question: why was Cazador's palace attached to a random guard wall in the Lower City when he's as upper echelon as they come? Oh, because we cut all of the Upper City from the game but still needed to resolve Astarion's storyline? Got it. What was the point of me tracking down the bomb factory in the fireworks shop if there are no repercussions for either destroying it or leaving it alone? Oh, just a reason to connect Rivington to Baldur's Gate, same as the Dribbles quest? Cool.

Speaking of Dribbles, I almost couldn't even finish the damn quest because I stole the clown's hand from the kobald and the game didn't acknowledge it because a cutscene didn't trigger. I had to do the most roundabout series of tests and finally figured out I had to put the hand in a pouch marked as wares, sell the wares to the kobald, steal the pouch back, drop the hand in front of him, and ensure he caught me stealing it.

That being said, there is nothing about the Circus segment itself I would change. Pure confetti all the way down. Enjoyed being turned into a stinky wheel of cheese.

I love love love the Auntie Ethel quest line. The only thing I could've asked for in relation to it is even more fae shit.

On that note, loved Valeria. Loved how Normal a miniature flying elephant detective was.

The Emperor's sex scene? Delightful. So glad I got to experience that through a friend. Can't wait to be a freak like that someday.

The House of Hope was Hot AF. I died at the Haarlep part; it was everything I wanted: a Raphael """romance""", a terrible deal, exhibitionism, companion-wide disapproval, body and mind violation. Honestly, Larian DOES get full points for that. (Now, make it a true possibility with Raphael, cowards. Let me ride that pillow princess.) Can't WAIT to fully go through with this deal someday with a different character because Riven wasn't the one.

The Raphael fight was honestly incredibly fun (the soundtrack lol A+++) and I didn't find it that challenging in Balanced mode. Like, I thought it was going to wreck my shit, but it was easily one of my most favorite parts of the game. Getting to the room to go through with it, however, was a trial and a half.

Act 3 also had two, if not three, of my least favorite quests of the whole game, tbh. And when I say least favorite, I mean they were just plain not fun to play. At all. Top of mind is the Free the Artist quest with the haunted house, which should've been fun but was just an incredible pain in the ass the whole time, and the Iron Throne quest, which I had to do no less than 8 times to get the exact results I wanted because bugs would thwart me at every turn. NPCs not dashing because their pathways were somehow blocked. Characters getting stuck up the ladder, not allowing anyone else to climb it. Having a character physically move to pull a switch to lock a door behind them only to get them permanently stuck on the wrong side of the door. Did I mention this quest was also a timed trial? lol lol

Kept expecting for my betrayal of the Zhentarim in act 1 to have Repercussions when I reached the city, their stomping ground, in act 3. lol lol

With the flood of companion interactions and cutscenes I got in act 1, it's a shame how much those dried up in act 2 and were practically non-existent in act 3. Their personal quest lines are all you have, and once they're over, you'll maybe get one final cutscene and maybe a romantic one and that's it.

Karlach barely feels like she had a real arc. You do a few things to keep her infernal engine from exploding, but then there's nothing more you can do and she resigns herself to death, refusing to go to Avernus. She and Dammon stop interacting, and the game gives you no other avenues to explore besides a confrontation with Gortash that went about as well as I expected. Just dissatisfaction after dissatisfaction with her. Which is a shame because her VA killed it the entire time! The best I could do for her was take her to the House of Hope for a few hours of relief, but not even an archdevil's home has anything more to offer her.

And it's wild because her death scene was super emotional and touching. I was ready to burst into tears until Wyll ran up and begged her to come to Avernus with him, to live. Then, I wanted to cry for another reason! (My Wyll lost his warlock powers but saved his father and became the Blade of Avernus.) This made so much sense to me as an option for Karlach a long time ago, that I was both relieved and frustrated that this was The Solution the whole time.

I gave Karlach the option to choose what she wanted, and she chose to go with him. What has all this been for, then? So much of Karlach's narrative and the tragedy of it hangs on her absolute refusal to return to the place that tortured her so badly just to live—but that turns out to be only solution this whole time? Why couldn't we just go to Avernus and find something that actually helps her then?

Karlach and Wyll got short-changed in many respects to their arcs, which is wild considering all the touchpoints they have with each other. I'm still frustrated that I, not Wyll, had to choose between severing the pact and saving his father. Even though I achieved both, Wyll should've been given the option to make that decision based on how you interacted with him throughout the game, same as every other character gets to make. At least he gets to choose between becoming a city official and the Blade of Avernus. But it's wild that we have two characters here who were used and enslaved by devils, and that's either not really addressed or resolved (Karlach) or it's only passively handled (Wyll).

And god, I loved the final scene with Wyll and Karlach in Avernus! How Karlach accepted that she would live, how she appreciated both the horror and the opportunity that Avernus presented, and how she wasn't alone anymore. I loved how confident she gets, assuming the role of the experienced expert/hunter in this place. And then Wyll. Who has also hunted and explored Avernus before. Doesn't even get to speak. Just smiles encouragingly the whole time, silent. This scene is so clearly written for Karlach with a Tav, and it's. Frustrating. Wyll and Karlach should be straight-up talking shop together right now. If this is the resolution of both of their arcs together, then it should be written for both of them together.

I'm a Wyll fan who loves the character he is, but I also resonate with folks who are frustrated losing the EA Wyll I never got to meet. I love what I've seen of his romance arc; it's his character arc that has me scratching my head at times, just because I see where they could've done a lot more with more time. The Ansur quest was... interesting but feels very tacked on at the last minute, and the twist that occurs from it isn't even about Wyll. And it matters for all of two seconds and then is never brought up again except to remind you to never speak of it lol what?? At least the lesson Wyll learns is one I knew all along, which is he's the hero Baldur's Gate needs and deserves.

And Gale! I'm honestly not even counting his arc as resolved. That was a joke. The crown falls into the lake?? And based on how you talked to him, he decides whether he's going to fish it out or not??? And I don't even get to see it??? For me, Gale decided to leave it alone, not giving it to Mystra or using it to become a god, which is. Wild. Considering my Tav, Riven, was very much Team "Fuck Mystra" and didn't discourage him from the god path. I was expecting a whole moment like what Astarion got between completing the ritual or not, but nope! You've gotta be joking.

I think the only arcs I'm satisfied with are Lae'zel's and Shadowheart's, even though I still don't know how and why the latter dyed her hair white lol. (I mean, symbolically, I get it, but I'm half-convinced her hair's not even supposed to be white because her portrait never changed hair color and the other characters only commented on her bangs like is this a universal bug that everyone accepted and Larian doesn't want to own up to?)

I also wish that if Halsin, Jaheira, and Minsc are going to be companions that they would've given them proper arcs, too. Halsin especially since he comes along earlier. Jaheira gets more of a pass since she's older and a legacy character and I love her, but I could take or leave Minsc tbh. Haven't gotten Minthara yet, so opinion's still out on her.

I loved Jaheira's little adopted family. A shame I never saw them again or got anymore resolution! (More on resolution in general later)

I guess I'll talk about Astarion's arc. I loved so much of it, but I'll be honest; I was having the most fun with him in acts 1 and 2. The sex repulsion thing, while key to his arc, also seemed to dry up all the romantic chemistry he has between himself and your character. Part of that might be because his arc turns so hard into obsessing over the ritual. But part of it is a Huge Missed Opportunity between exploring the difference between Sex as a Means to an End and exploring with him what actual intimacy looks like. Sure, you get the hand-holding and the hug, once, which can easily turn into a Just Friends thing. But where was learning what easy sensuality and intimacy looks like with a partner who won't pressure you into making it about sex? The graveyard scene was great! Sure wish there was more where that came from!

Astarion's romantic arc became a lot more about what Astarion wanted versus what you both want, argue with the wall. Sure, he wants it to become something real and wants to take things slow, but at what point is a Tav who was used for protection through sex allowed to be sexually frustrated and not shamed for it? The only time that's even acknowledged is if Tav considers a poly relationship with Astarion and Halsin, and we're supposed to feel bad on Astarion's account and not Tav's. Well, I'm sorry, but for Riven, Astarion would've been her first sexual partner and relationship, and he knowingly turned that switch on to make her obsessed and pliant towards him. It's unrealistic to just. Expect her to not be sexually frustrated, to grin and bear it, just because he's finally acknowledging his own automony. Part of that autonomy means taking ownership for what he did as an exploitive sexual partner; I'm not saying he needs to get her off or anything, but this is where displaying actual intimacy could've helped while they were taking a break from sex. Instead, the game really does have Astarion cut her off cold turkey with no further romantic scenes outside of the odd line here and there while discussing the ritual, and p e r s o n a l l y, I take Great Issue with that as a woman with some fucking self-respect.

Considering how hard this romance goes on the front-end with sex, flirting, and banter, Astarion's romance arc feels very foreplay-heavy with a very dissatisfying finish, which I'm not impressed with, okay? (And yes, my last romantic scene with him was bugged all to hell, so I didn't get to experience it as a cutscene, just fragmented lines in a box of a room. In fact, a lot of his romance lines throughout act 3 would either get cut-off or there'd be other buggy things happening that detracted from the scene.) At least he stays an asshole and not this uwu baby that so much of the fandom wants to pretend he is lol

That said, and even though I haven't done it yet, I am so sure that it'll be Ascended Astarion >>>>>>>> Good End Astarion for me lol. Give me the dark, fucked-up ends forever, thanks.

I didn't even get one of the biggest payoffs from convincing Astarion not to Ascend. I had Shadowheart cast Daylight as an orb and not on an object, so when the other spawn got free, they took damage from the spell and ran away, disappearing forever. Cazador's staff was nowhere to be seen because it was tied to a cutscene with those spawn, so now??? The ~7,000 spawn trapped in those arcane cells are just going to be driven mad as they starve to death, which we know from Astarion being held in solitary for a year is going to take a very long time. Meaning the more humane thing to do would've been to just. Let Astarion go through with the ritual, damning himself to save them from a fate worse than death. Great storytelling, Larian, we didn't test that Daylight spell at all, did we? Good thing I made a save with Astarion post-Ascension, tbh.

(Which, the fact that you still have to convince Astarion not to go through with the ritual, despite your high approval, romance, and all the things he's seen getting there, fascinates me. So many other characters will do the right thing if you've planted the seeds and give them the chance to make the choice themselves, but Astarion is determined to see the ritual through by default unless you roll real good. It's Big Sexy of him.)

On the one hand, this game has SO many more companion cutscenes and reactions than past rpg games like this. But on the other, it doesn't balance them well throughout the game. It doesn't help that I played the version with approval thresholds being lower than they should've been. But it goes back to how much of act 1 was written, built out, and tested in EA, and how much the rest of the game was... not.

Also what was the point of Yenna besides being nice to an orphan kid? Why did she disappear from camp for days and days that was never acknowledged? How many more bugs with kids did I experience in this playthrough, the Mol quest also being fucked sideways?

Gortash was so hot and SO underused and for what??? Jason Isaacs, b r u h!!! Oh well, more reason to play Dark Urge at some point.

I also never got the option to Find Familiar my owlbear and he stopped moving in the camp in act 3, and I'm sad, okay? He does somehow become fully grown?? for the final battle and armored up, but you're joking if you think I'm risking my baby boy like that

That said, I did like how the final battle played out, how you could summon your allies to help fight. (Zevlor redeemed himself and survived, baby!) I liked the various stages of it. But omg... the audio problems. A whole area where background music didn't play for over 20 minutes. Where characters had dialogue but no audio track. The immersion was in tatters for me, and given all the character arc resolution problems I discussed above, yeah, no WONDER I'm fucking frustrated. All this build up, to just trip at the finish line?

It was also wild how. Abrupt. The ending is. A series of cutscenes with a few final choices here and there, with random companions interjecting their opinions/perspective, but. There's no goodbye tour. There's no talking to everyone for the last time before the FINAL scenes happen and the credits roll. No "what will you do now?" discussions besides Karlach and Wyll's abrupt leave (made even worse by Astarion's abrupt leave for Reasons). I've been traveling with most of these people since the first hour of the game, and I can't even say to them "goodbye and thank you"??? We've poked fun at Bioware throughout BG3's launch, but they beat you there, Larian. Muchly.

The ending cutscenes were also not edited together cohesively, which might be why the Astarion romance scene bugged out. It's possible it's out of order, but it either goes: Companions talking about celebrating, Astarion getting scalded by the sun and running away, Karlach's engine catching on fire, Wyll convincing her to save herself and the two running off, the narrator showing you the city and proclaiming you a hero, Astarion romance scene in a black box, Wyll and Karlach in Avernus, end credits. OR it goes: Companions talking about celebrating, Astarion being scalded and running off, Karlach's engine catching on fire, Wyll imploring her to live but you convince her to die, the narrator proclaiming you a hero, Astarion romance scene, credits. And that switch to the credits, both times, is a fast and hard switch.

Also okay FINE I'll be honest! How determined this game is to turn you illithid finally pissed me the fuck off! The whole game, I played a character who would Not Eat the Damn Tadpole for anything but who would still abuse her compulsion powers now and again. (Which, a shame that power went away in act 3, that was fun roleplaying.) The whole game, she decides and is given the option to decide that her own strength and those of her companions would be enough, and guess what? It's not lol. Someone still has to become illithid and eat Orpheus's brain. Picture it: I had Astarion, Gale, and Lae'zel with me, the latter two who still need their arcs completed, hence why they're here. And the choice I'm given is either: give the Emperor the stones and have him eat Orpheus' brain; turn myself into an illithid and eat Orpheus' brain, or free Orpheus and convince him to turn himself into an illithid (or have myself or a dying Karlach do it, and guess what? We'd still have to eat his brain). All but one of these choices will either have Lae'zel hate me forever or permanently end my Astarion romance. The only viable option, meanwhile, is depressingly anticlimactic and uninteresting. Yeah, I'll say it: BOOOOOOO!

I have so many characters I want to do different playthroughs with, but act 3 and its ending, man. The taste of it is not horrible but it's not great, either. Kinda torn between taking my time in the first two acts and giving the game a break, see if they fix the most annoying bug issues first. I don't hold out much hope that storytelling issues will be fixed, but god, I wish they would be. Gonna just hold it in and die until I can talk to any friend about it.

#mel's ramblings #bg3 spoilers

4 notes · View notes

gridadimorte · 2 years ago

Text

random Sinclair brother head canons bc this movie is all I have thought about for months and I need to put these out there’s so ppl can agree w me bc I’m right:

-Lester is a pro w spicy food, like he’s that one white guy that will outdo you as a bipoc on spice level and put you to shame.

-I just know he’d love Thai food 😔

-bo however…

-bo thinks he has same taste buds as Lester, or at least he convinced himself that he does

-everyone at the table will warn him about ordering the hottest spice level even the waiter will warn him against it but Bo’s a fucking show off and he’s gonna suffer the consequences

-this man cannot do spice, I’m talking a lvl two has him sweating.

-one bite out of anything lvl 4 or higher and his head is in his damn hands.

- Lester has definitely tried to get bo to do those hot chip and noodle challenges and it’s def ended w bo dry heaving on the floor or threatening Lester through chugs of milk

- imagine taking these mfs to a Starbucks drive thru, lester is in the passenger seat, already knows what he wants, a pink drink w light ice ✨ or a dragon fruit lemonade

-Vincent is an artist so it’s only natural that he’s gonna go w a matcha drink, def an iced matcha latte but if he wants smth else I see him drinking chai lattes

-don’t get me started on Bo 🙄 it’s not gay to have caramel in ur coffee, like he’s not bisexual

- is gonna talk about how he ONLY drinks his coffee black, a barista’s worst nightmare

-but if it’s hot he’s gonna pretend like he doesn’t want any of those “damn fruity little drinks” (please get him a refresher or lemonade)

- I feel like Lester would like old school reggaeton despite not speaking Spanish

- All artists have one female vocalist that they worship, Vincent’s is björk. Definitely has a vespertine vinyl that was stolen from a victim’s bag, he’s absolutely hoping to “find” a post vinyl to go with it.

-crediting my friend for this one but Lester would absolutely love Waffle House 😭 dinner and a show

- tbh I really don’t see bo listening to a lot of country if any, maybe some johnny cash and a little Reba but I feel like that’s pushing it. I think his taste in music mostly stays within the rock and metal genres 😔 probably has the smallest music range out of all three brothers, sorry y’all </3

-bo has a cd and cassette playlist that he only shows people he likes, def nabbed some rare merch and cds from victims and you’ll have to pry them from his cold dead hands to touch them

-yes ik we can assume he mostly like nu metal and 90s metal/rock from the HoW soundtrack but I feel like bo def likes Black Sabbath too

-bo let me put u on she wants revenge 😩

- no one talk to bo if smth goes wrong in the kitchen, just mind your business (he’s just like me FR)

- dude cracks an egg just to get eggshell bits stuck in there and as soon as Lester and Vincent hear him sigh 🏃🏼‍♂️🏃🏻‍♀️ they’re out the kitchen

- Vincent’s fave insects r praying mantises

-Lester has crazy grilling skills but is not allowed to cook for his brothers anymore bc they’ve been secretly fed raccoon meat too many damn times (2x)

- Vincent makes the best pancakes and bo makes the best French toast 😤

- while they have jonesy and she’s loved by all three I think bo has a secret soft spot for little dogs

- bring him a small dog and he’s gonna talk about how he “doesn’t want that rat” but he’s gonna be buying them little sweaters and a nice dog bed within a day. Will even have the dog in his own jacket when it’s cold.

-got help w my sibling for this one, but if they played any video games these would be their faves:

Bo: duke Nukem (unironically)and doom

Vincent: postal and bioshock, I think he’d also enjoy the game ver of I have no mouth and I must scream

Lester: Turok evolution, I wanna say he’s insanely good at fighting games, probably plays tekken 3 and 4, but he never memorizes any of the character’s names so if you ever ask him who plays it’s “oh uhh that one fella with the fucked up eye”

-Lester kazuya and or hwoarang main

- imagine twitch streamer Lester 😭

-(sorry to any old school gamers my first console experience was a ps2 and I’ve never played on anything older </3 but I’d love to see yalls thoughts on their fave games considering they grew up in the 70s-80s)

- I already know horror movies don’t do a damn thing to the twins but imagine them playing a survival horror game together 😭 like the first outlast or even worse silent hill, them being in such a vulnerable and open position would freak them tf out

- the sibling arguing you’d hear over the ominous music coming from the tv bc bo refuses to let go of the controller and Vincent is angrily pointing and signing at bo like “no damn it you went the wrong fucking way you were supposed to go through the other door”

-bo will absolutely scream once or twice, Vincent will flinch violently or start panicking and trying to snatch the controller away from bo

- if you make them play just dance we all know Lester is gonna win

- imagine these bitches playing wii, bo would smack his brothers w the Wii remote on purpose 🤦🏻‍♂️

-pronouns n sexualities:

-bo: cis he/him and bisexual but doesn’t talk about it, doesn’t stop him from hitting on everyone regardless of their gender tho

-Vincent: he/they or they/he I cannawt decide but also bisexual

-Lester: He/Him I’d say Lester is cishet but there’s def times where he opens his mouth and it’s like……r u sure

That’s all I have so far but catch me adding onto this post over time 😏

#house of wax (2005)#vincent sinclair #bo sinclair #lester sinclair #these guys: lideraly killing ppl #me: here’s their top 5 fave animes #slashers #cupids headcannons

28 notes · View notes

thepartyresponsible · 4 years ago

Text

this fill is for @missonthemoon (who cannot be tagged? idk, tumblr), who asked for a soundtrack fill for jason todd to “shake it out” by florence and the machine. somehow this became a frank castle/jason todd game of thrones au.

i do not possess an extensive knowledge of asoiaf canon intricacies, but neither does david benioff, and look how far he got.

anyway, here’s some angst. i might crosspost this one to ao3, because it’s almost five thousand words long.

---

The Wall is a long way north for a King’s Landing bastard, but Jason fits here as well as he’s ever fit anywhere. He liked the Dornish heat better, but he never quite acclimated to the clothes. And he certainly belongs with these men more than he ever belonged with anyone in Harrenhal.

“Going ranging again, Jay?” Roy Harper was a lord’s son once, too. They have that in common, although they don’t talk about things like that now.

Jason keeps his eyes on the saddlebags he’s packing. “Frank Castle is needed in King’s Landing.”

Roy huffs out a breath, and it hangs in the air, frosted fog that fades slower than Jason likes. “Needed now?”

Jason looks around them at all the hallmarks of late autumn. The summer left them months ago, but the South is only now starting to feel it. “Needed now,” he confirms.

“Well, Rumlow,” Roy says. “Or Stryker. There are others who could go.”

There are others. Of course there are. But Jason’s the only one who knows where Frank Castle lives. “I’ll be fastest,” Jason says. “And I’m going alone.”

“The wildlings will eat you,” Roy says. “They’re starving.”

Jason rolls his eyes. “If I get killed by a pack of starving wildlings, they’re welcome to boil me into their stew. A few more months of this, and we’ll be eating our dead, too.”

The southern lords have been miserly with the Wall’s supplies. Bruce will feed them if Jason asks, but he hasn’t asked. He won’t ever ask. He’ll write to Grayson if the youngest of the Watch start to show their ribs, but he won’t ask Bruce Wayne for anything at all.

“I’ll go with you,” Roy offers.

The wildlings like Roy. They tug at his red hair, call him lucky. In the summer, in peaceful times, Roy outshot every single one of them, and they had been so enamored with him that Jason had stayed awake all night to make sure none of them snuck into their tent to steal Roy away.

“Stay here,” Jason says, because he’s nobody’s lord, but he looks after those who look to him. “Keep watch.”

Rumlow left him for dead the first time they went ranging north of the Wall. Jason didn’t blame him for it, not then and not later. His horse tripped on an unlucky stone, and Jason’s leg broke in two places when the mare landed on top of him.

Rumlow killed her before he left. It was a mercy Jason had been working up to doing himself.

He offered to kill Jason, too. “They’ll come at night, otherwise,” Rumlow said, as he sorted through their supplies, leaving Jason with the food he could spare. “Better to die in daylight, I think. Cleaner.”

“Who’ll come?” Jason asked, sick with pain, tasting vomit and copper with every inhale.

Rumlow shrugged, looked up. There was some vague apology in his eyes, but nothing heavy enough to leave a mark. “The wolves,” he said. “The wildlings. It’s the same.”

“Leave the sword,” Jason said. It was Bruce’s once. Jason never did give it back.

“I could send it to your father,” Rumlow offered. His hand was wrapped around the hilt like he meant to keep it. Well, he was a soldier, before the Wall. He had to know its worth. “You could keep mine.”

Jason reached for his sword, and, after a long pause, Rumlow returned it. “I don’t have a father,” Jason said.

But the weight of the sword in his hand reminded him that, once, he did.

Frank Castle lives in one of the old forests, among trees so tall and quiet that Jason can almost feel them breathe. Jason’s horse shies at shadows, and he doesn’t blame her. He can feel something pressing against him, a magic he doesn’t know enough to name.

It’s been two years since he was last here, but he remembers the way. He walks it every night before he falls asleep, pictures the path in his mind.

If the Watch wants to speak to Frank Castle, they send brothers to camp on a rocky hilltop outside the woods and build a smoky fire. It may be a day or so before Frank appears, but he always answers in the end. Any of the brothers could have made the trek; any of them could have set the fire.

But only Jason knows where he lives.

And the Lord Commander of the Night’s Watch believes that, out of all of them, only Jason can lure him out.

Jason knows he can’t lure Frank Castle anywhere. He knows what the brothers believe, what his Lord Commander believes about those months he spent with Frank in the woods, about why Frank is in these woods at all, but he doesn’t have any power over him.

If he ever did, he gave it up. That’s all Jason knows to do with power. Give it to him, and he’ll give it away, always.

He always gives every piece of himself away.

It wasn’t wolves or wildlings that found him, delirious and half-dead, propped against a tree because he could no longer sit up on his own. It was Frank Castle, appearing in front of him like a thing from a dream.

Jason didn’t even lift his sword when he saw him. He didn’t know who he was. Not a wildling. He knew that much. Dark-haired, stern, and serious, still wearing the trappings of a Riverlands knight. But Jason was too far gone to recognize him then, even when Frank put his fingers under his chin, lifted his eyes to the light.

“I should have left you in Dorne,” Frank told him.

And then Jason did recognize him. And it felt like the gods were laughing at him, so Jason laughed too.

When Frank lifted him onto his horse, the pain swelled so black and hungry that it ate Jason alive.

There’s a fire in Frank’s hearth, and Jason watches the smoke rise through the trees. He didn’t mistime his departure from Castle Black, but the sun rises and sets so quickly these days that it has already been dark for hours. He walked the last hour or so, leading his horse carefully through the trees.

Frank must know he’s here. Frank knows everything that happens in these woods.

Jason ties his horse to a tree near the cabin. He walks up to the door. He wants to push it open and step inside, claim a space that used to almost belong to him, but he knocks, and he waits. Frank answers a full minute later.

“Jason,” he says. It’s not a greeting. It is barely an acknowledgement. His eyes move across Jason in quick, cursory flicks, like he doesn’t want to look at all. “Come inside,” he says. “You’ve been out too long.”

“I’m not going to freeze to death,” Jason says. He’s suitably outfitted for the weather. The Lord Commander, after all, is invested in this mission. “The Watch does--”

“Inside,” Frank says, shoving the door open wider and shouldering his way past Jason. “I’ll see to your horse.”

When Jason was young, when he still wore the bat of Harrenhal, he believed himself in love with Frank Castle. Bruce Wayne hadn’t approved of him, considered him unnecessarily brutal and cruel, but Jason hadn’t minded the blood.

Frank Castle was kind to everyone who couldn’t lift a sword against him. All the servants, all the smallfolk. If Bruce had looked past the battlefield, past the ruthlessness, past Frank’s history of slitting throats to stop sieges, he would have seen it, the same way Jason saw it.

Or maybe he wouldn’t have. Bruce, for all his good intentions, only ever saw justice as a chess match: straightforward, with rules and players and endings. He minimized harm; he spared every life he could, and he didn’t seem to notice the way the scales always dripped bloodier for it.

Jason grew up on the streets of King’s Landing, with a mother who was taken from him piece by piece and then all at once. He knew how wolves were. They ate. It was their nature. And sparing a wolf was only an act of mercy if the lives of sheep were worth nothing at all.

Frank killed wolves. And lions, and eagles, and dragons, and bears, and anyone and anything. Frank was some kind of wolf himself.

And Jason, when he was young enough to think he could love anyone at all, loved Frank for showing him that there was nothing wrong with the way he was. For being like him, where it mattered. In the heart of him, beating always, hungry always, no matter what sigil he stitched into his shirt, no matter how faithfully he fed himself from Bruce’s table of mercy and chivalry.

Frank showed him that wolves could eat wolves. And Jason feasted for years until it got him sent to the Wall.

Jason sits by Frank’s fire and lets the warmth seep into his bones. Snow melts on his clothes and drips onto the floorboards, and Jason ignores it. In the years of his absence, Frank has erased all traces of him from this place. Jason intends now to leave more permanent marks.

“Are you hungry?” It’s the first thing Frank says, long minutes after he comes back inside. He’s still standing by the door. He must have been standing there, staring at the back of Jason’s head all this time.

Is he hungry?

“No,” Jason says. He hasn’t eaten well in weeks. He splits all his meals with the younger brothers, feeds the ones who seem to need it the most.

Frank should have seen him in summer. He was so much more impressive then.

But he saw him in Dorne, and that was probably the wildest and most dangerous Jason’s ever been. Certainly, it was the most beautiful he’s ever been, a fact Talia saw to with the amused, condescending regard of a child just on the verge of outgrowing her favorite doll.

Frank sighs. Jason doesn’t even have to look at him to know what that sigh means. It means he’s tired, frustrated. Exhausted by the way Jason lies to him. He’d sighed like that when Jason lied about his leg, too. When he pushed himself too far.

What right does Frank have to be irritated by a thing like that? All Jason’s life, showing vulnerability has been, at best, a humiliation. Usually it’s regarded as a challenge. Or an invitation.

If it was different with Frank for a while, it’s not any different now.

“Why are you here?” Frank asks. “Who sent you?”

Jason could lie to him, but there isn’t any point to it. The truth is the only excusable reason for him to be here at all. “There’s an army,” he says. “Some Free Cities bastards are funding an invasion of Dothraki. They’ll make landfall, burn the fields. It’s still harvest time in the Reach.”

Frank doesn’t say anything. The silence stirs between them, a restless, twisting thing, serpentine and fanged.

“Your lord called his bannermen,” Jason says.

“I am no one’s bannerman,” Frank says.

I am no one’s son.

After all of it, after the Joker, after the run to Dorne with knights hounding after him, after years of sitting beside Talia and letting her handfeed him the names of men who needed to die, Frank Castle arrived at Sunspear with a letter from their lord.

“Your father wants you home,” Frank told him.

“I have no father,” Jason said. “I am no one’s son.”

Frank stared at him for so long that Jason grew restless, shifted impatiently at Talia’s side. And then, with a sigh, Frank relented. “Your lord wants you home.”

Jason was a dangerous thing when he fled King’s Landing, but he was a deadly one after years with Talia. He dealt in poisoned drinks and poisoned blades. He could shrug in and out of courtly affectations, could slip into a window as a lord and out as a servant. At Harrenhal, he wore a mask, and it suffocated him. The trick, Talia taught him, was to remember to take it off.

Jason laughed, sharp and angry, even then, even after years to dull the sting. “The last thing he wants,” he said, “is for me to come home.”

“If you stop this,” Frank said, “if you stop killing these men, if you--”

“Have you stopped?” Jason asked. Talia smiled, soft and amused, half-hidden behind her hand. She had never tried to make him into something he wasn’t. She never attempted to re-forge a knife into a trowel; she only directed the blade.

“I kill criminals and soldiers,” Frank said. And then, when Jason opened his mouth, he continued, louder, harsher. “I kill the men who are mine to kill. You’ve been killing men you have no claim to.”

But Jason was born a bastard. He belonged to no one, and no one belonged to him. He was the world’s, and the world was his, and he had learned to kill anyone who needed killing. If the Seven Kingdoms allowed its powerful men to go rancid, Jason burned bright enough to cauterize the wound before the infection spread further.

“If you don’t make amends for this,” Frank told him, “if you don’t answer for these deaths, something will have to be done about you.”

And Jason knows what will have to be done about someone like him. He knows who will do it. Wolves eat wolves.

“Nothing will be done about him,” Talia said, leaning forward, smiling even wider now.

Frank looked at her. He wasn’t afraid of her, not for a heartbeat. Jason looked between them, measured it out. A snake and a wolf made for interesting enemies, but it didn’t seem like the kind of fight that ended in a clean victory for either.

“If you come home,” Frank said, looking to Jason, “and beg forgiveness, it will be given to you.”

So Jason went home. But he didn’t beg. He wouldn’t ask forgiveness for good work. He wasn’t ashamed of anything he’d done.

Bruce banished him to the Wall.

Frank followed and then went farther, left Jason behind.

Frank gives him stew, and bread, and some drink, sweet and spiced, that the wildlings must have brewed. Jason takes all of it. He can’t waste food even when he’s eating regularly. There are lessons learned in childhood that work their way to the bone.

“Why should I go?” Frank asks. He’s crouched in front of the fire, too close to it. He’s staring at the embers, like he’s divining something in the way they fall to ash. “They won’t come up here and fetch me. If some Dothraki screamers burn a lord’s fields, what does it matter to me?”

Jason pushes the bread around the inside of the bowl. It’s neatly carved; Frank no doubt did it himself. He’s taken well to domesticity for a man whose name can clear a pub of Southern soldiers.

Or could, anyway.

Who knows what Southern soldiers are scared of now? Dothraki, no doubt.

“Because it won’t just be the fields burning,” Jason says. “It’ll be the farmers.”

The farmers and their sons, and then their daughters and their wives, and whole villages of smallfolk who may fight if cornered but won’t fight well enough to save themselves. It won’t be the Reach’s lords who burn. Just as it won’t be the king and his court. It’ll be the servants and the whores, the less lucky bastards of King’s Landing.

“Are you going?” Frank turns toward him. It’s the first time he’s looked at him like he knows him at all.

Jason moves his spoon around in the bowl, follows the fine lines of the wood grain. “I’ve been told my exile will be lifted until the invasion is over. If I bring you back with me.”

Frank doesn’t make a sound, but he doesn’t need to. Jason can read his skepticism in the flat slash of his mouth. “And if I don’t go, you’ll stay at the Wall?”

Jason can’t hold back his laughter; he’s too surprised by it. “Of course I’m going,” he says. “They’ll just kill me for it, after.”

He doesn’t care about an invading force of Dothraki, financed by some Free Cities bankers. He doesn’t care about any lord’s fields. He doesn’t care if every vineyard burns and all the wine cups go empty. But it’ll be the smallfolk who suffer most, the way they always do.

Smallfolk are taught to swallow blood from a very young age. Jason developed a taste for it, learned to hunger for it.

But not every sheep can shed its skin to find teeth and claws beneath.

Not every sheep should have to.

It took months for his leg to heal. Frank made sure it healed well.

He cooked for him, cared for him, gave Jason the only bed in the house and slept on the floor until Jason threatened to join him. Even when Frank climbed in next to him, he was careful to leave a respectful space between them.

Jason loved him once, when he was young. It would have been easy to love him again. But what would be the point?

“I swore an oath,” Jason told him, when the worst of the delirium faded away. “I have to go back to the Wall.”

“When you can walk,” Frank replied. And then, “When you can ride.”

In those months, it was easy to remember that Frank grew up a farmer’s son. He was knighted when he was barely twenty, rose steadily until he hit the limits of Bruce Wayne’s respect.

Jason was at the knighting ceremony. He was thirteen, freshly scrubbed clean from the slums of King’s Landing, and he liked Frank, even then, because the slow drag of his vowels made him the only person in Harrenhal who Jason could speak to without hating the sound of his own voice.

Frank made a life north of the Wall that felt like the life he’d given up when he took up a sword. Jason was a stranger to it. He’d never known anything like it. There had never been a peaceful life for him to trade away. If he’d stayed in King’s Landing, he would’ve died young and alone.

“You could stay,” Frank told him, the day Jason hauled himself up into Frank’s horse’s saddle and rode around the clearing, barely flinching at all. “For a while longer. For as long as you like. You could stay here.”

Jason looked down at him and wondered what Frank was doing here. Why he left, why he followed Jason to the Wall, why he went beyond it.

“I could’ve stayed in Dorne, too,” he said.

But he swore an oath. And he carried Bruce Wayne’s sword.

And maybe he could never change what he was, but it was in an orphan’s nature to hope to become something better.

“Why did you leave?” Frank asks. Jason grimaces, biting back a flinch, and Frank shakes his head. “Not here. Harrenhal. After the Joker, why didn’t you come home? Bruce would have forgiven you then. Why in the seven hells did you go to Talia?”

Jason doesn’t know how to answer that. It had seemed inevitable at the time. It still does, looking back, like a thousand forking paths that all led to the same place.

“As soon as you taught me to fight,” Jason says, “I knew I was going to kill the Joker.”

And maybe he’d known before then. Maybe he knew when he was twelve, when Bruce Wayne, the Lord of Harrenhal, was offering him a new life, a chance to go away and grow strong and tall, come back angry and armed and fully grown. Maybe he knew when he went to Frank, when he was fifteen and still growing into his shoulders, when he asked Frank to teach him to fight.

Not like his father taught him. Not like Grayson taught him. He didn’t want pretty. He didn’t want honorable. He wanted it to hurt, and he wanted it to be ruthless. He wanted merciless. Brutal. Fatal.

What the Joker did in King’s Landing, the ways he hurt people, it flared too brightly to look away from. Jason couldn’t live in a world where things like that happened. When he went back to the streets that ate his mother alive, he fed them the Joker’s blood.

He didn’t care. It didn’t matter. The Joker was the second richest man in King’s Landing, but he died the same as the poorest. Death was an equalizer, but only when equally applied. Jason found his worth by learning to tip the scales by whatever means he could.

“But why did you go to Talia?” Frank asks. “Why didn’t you---” He cuts himself off, looks away.

“Why didn’t I go begging to Bruce?” Jason asks. “Or the king? Bend the knee, beg for mercy? It was right to kill him, Frank. For what he did to me, for what he did to my mother. I won’t ask for forgiveness. They should’ve begged me. Bruce, and the king, and all of them. They should’ve begged for my forgiveness. They should’ve begged all of us.”

Jason twists away, stares into the fire. Frank is silent at his side.

“They call themselves good men,” Jason says. “Talia understood. When people like the Joker walk free, clean hands are cowards’ hands. She taught me how to kill them.”

She made him an assassin. And what a betrayal Bruce must've thought that was.

“I didn’t mean Bruce,” Frank says. “I don’t care about him. Why didn’t you come to me?”

Jason was eighteen when he killed the Joker. He did it with his father’s sword. It felt blasphemous until the Joker’s blood was seeping into his boots, and then it felt righteous, and holy. No one else would die to that laughter. No one would hear it ringing, drowning out their last ragged breaths. No one else would cry, shaking and small, while their hearts raced with that mad chattering laughter.

He wiped the blade clean on the Joker’s shirt. And then, to be certain he was dead, Jason took his knife and stabbed the Joker in the chest until his arm shook.

He was always going to become this. He stole Bruce Wayne’s horse when he was twelve, and he led him on a chase through King’s Landing, and there was something in him then that might have been better, but he gave it up. The anger and hate built up like smoke inside him, and it smothered out whatever better thing he could have been.

He stared at the blood, and he thought about Bruce. And he thought about Dick Grayson. And he thought about Frank Castle, who taught him to fight in ways better suited to his nature. He knew how to duel like a knight if he needed to, but the cuts that brought the Joker down were cruel and ugly and base.

There was no reason to cry and no one to care if he did. He was what he’d always been. He’d done what he was always going to do.

The Joker was dead. He wouldn’t hurt anyone else.

But killing the Joker killed the part of him that belonged to Bruce, to Harrenhal, to Frank Castle. Talia, he knew, would understand. She’d known what he was since the moment she met him.

“She’s an assassin,” Frank had told him. His tone had not implied that it was an insult. He’d watched her carefully, this Dornish princess who arrived, unannounced, to visit Bruce.

“Is she here to kill Bruce?” Jason had been halfway to drawing his knife, and Frank jostled him, shook his head.

“She kills bad men,” he said. And then, after a moment, “And inconvenient ones.”

Talia smiled when she met him. She stole his knife from its sheath, spun it in her hand. “If you poison the blade,” she told him, “you could kill so much faster.”

“I kill fast enough,” he said, although, back then, he hadn’t killed anyone at all.

She laughed and leaned closer, patted him like a puppy. “Well, little bird, if you ever find they aren’t dying aren’t fast enough, Dorne is kind to people like us.”

People like us.

Even Bruce had never claimed him as he was. Had wanted, always, to remake him into something more similar to himself.

Jason knew by then that there were very few people like him. And even fewer who embraced it.

After the Joker was dead long enough for the blood to stop running, Jason cleaned his knife and headed south.

The sun burned so hot in Dorne that it felt like all his sins boiled away, like the heat left him pure.

Jason doesn’t know why he didn’t go to Frank after the Joker, except there will always be some part of him that can’t ask anyone for anything. He was a tool for Talia, a knife offered, hilt-first, for her to stab into the hearts of troublesome men. He could be that for her, could offer himself up in trade for her protection, but, at eighteen, he had nothing to offer Frank.

He still has nothing to offer him.

“Frank,” he says. “I’m going. I told them I would ask you to come with me. I’ll leave in the morning.”

For months, they slept together in this home. They worked, and they hunted, and they lived alongside each other. Jason fell asleep with Frank beside him, woke up with Frank’s arm curled around his waist.

Jason’s never known a peaceful life, but those handful of months come closes. Close enough, anyway, to finally know its worth. Close enough to teach him the value of what was taken from him by his father’s violent drunkenness, by the Joker’s mad menace, by the king and his callous court, by every little lord who lived so sweetly while the smallfolk starved in the streets.

His whole life, Jason’s been angry. Rootless and wounded, scrounging in the dirt even when Bruce washed him clean or Talia dressed him in silks. Bruce couldn’t cleanse him, and Talia couldn’t soothe him. It was Frank, in the end, who did both.

Frank, who showed him what it was like to live beside someone who didn’t ask more than he could give. Frank who shared a quiet cabin in a lonely wood, where Jason never had to beg or earn entry, because he already belonged inside.

Jason had that. He couldn’t keep it. Maybe, after everything, he has no right to peace.

“And do you think I’ll stay here?” Frank asks. He’s looking at Jason like he’s asking for something, but Jason would give him anything, if he had anything at all to offer. “Stay here and wait to hear how you died?”

Jason shakes his head, swallows the rest of the honeyed drink Frank gave him. “I don’t know what you’ll do,” he says. Because he doesn’t, and he never has.

Frank followed him all the way to Dorne, all the way to the Wall. But he’s never once stayed with him.

Frank stares at him, and time stretches out between them, brimming with pain and distance. Jason feels, somehow, that they have always just missed each other, that the paths they’re on run parallel but never overlap for long. Those months, in this cabin, were the easiest, kindest months of Jason’s life.

But they are not peaceful men. And Jason can’t say, in this moment or any other, whether that’s something they’ve earned or something they’ve suffered.

Frank reaches out to touch him, and the callouses on his fingers are rough against Jason’s skin, catch on the edge of the scar tissue on his face. His touch is impossibly gentle as he traces the long-healed J that the Joker carved into his face, when he was nine years old and his mother was late paying her debts.

“Frank,” Jason says. Because he has no right to ask, and nothing to use as leverage that he wouldn’t happily offer up for free. But he’s heading south in the morning, and he doesn’t think he’ll ever be back. Not to this cabin, and not to Frank.

But Frank’s hand drops suddenly away from his face, and the silence that builds between them is suffocating and familiar.

“Well.” Frank looks troubled when he stands, eyes the sword hanging over his hearth with some bittersweet expression, like hope or resignation. “I suppose I’m someone’s bannerman after all.”

#writing #fic #fill #soundtrack fills

118 notes · View notes

juhanati · 4 years ago

Text

||HD.Voir|” — L’origine du monde [|2021|] Film Complet — ((“STREAMING VF”)) — En Francais │ L’origine du monde (2021) HD `Complet

Regarder L’origine du monde (2021) Film Complet en Français,Voir L’origine du monde en streaming version française directement sur Films VF . Film gratuit en streaming. L’origine du monde (2020) 10/02/2021 (FR) Comédie, Drame 1h 38m Note des utilisateurs Regarder l’aguiche On est tous passé par là.

PLAY==> http://ver.yess-movie.com/movie/tt10551904/l-origine-du-monde.html

Synopsis Jean-Louis réalise en rentrant chez lui que son coeur s’est arrêté. Plus un seul battement dans sa poitrine, aucun pouls, rien. Pourtant, il est conscient, il parle, se déplace. Est-il encore vivant ? Est-il déjà mort ? Ni son ami vétérinaire Michel, ni sa femme Valérie ne trouvent d’explication à cet étrange phénomène. Alors que Jean-Louis panique, Valérie se tourne vers Margaux, sa coach de vie, un peu gourou, pas tout à fait marabout, mais très connectée aux forces occultes. Et elle a une solution qui va mettre Jean-Louis face au tabou ultime… Regarder L’origine du monde film complet, Regarder L’origine du monde Streaming vf, Regarder L’origine du monde Streaming Vostfr, Regarder L’origine du monde Streaming vf gratuit, Regarder L’origine du monde Streaming YouRegarder, Regarder L’origine du monde Telecharger, Regarder L’origine du monde Film Complet en streaming, Regarder L’origine du monde Uptobox, Regarder L’origine du monde Film complet en français, Regarder L’origine du monde Streaming vf gratuit complet, L’origine du monde film complet L’origine du monde 2021 film complet L’origine du monde film complet en français L’origine du monde streaming vostfr L’origine du monde film streaming L’origine du monde streaming vf L’origine du monde film complet en ligne L’origine du monde film complet en ligne gratuit L’origine du monde film complet en ligne gratuitement L’origine du monde film complet télécharger L’origine du monde film complet sous-titre L’origine du monde film 2021 streaming vf L’origine du monde bande annonce vf L’origine du monde 2021 film complet en francais L’origine du monde 2021 Film Complet Streaming VF Entier Français, L’origine du monde 2021 Regarder Film en Streaming en Français, L’origine du monde 2021 Stream Film Complet Entier VF en Français, L’origine du monde 2021 streaming VF film en entier gratuit, L’origine du monde 2021 film complet streaming Vk gratuit, L’origine du monde 2021 Regarder Film en Streaming, L’origine du monde 2021 Film télécharger Torrent, L’origine du monde 2021 film complet en Français, L’origine du monde 2021 regarder en streaming, L’origine du monde 2021 youtube film entier, L’origine du monde 2021 streaming vf youwacth, L’origine du monde 2021 streaming en entier, L’origine du monde 2021 Regarder Gratuitment, L’origine du monde 2021 regarder film streaming, Its somewhat ironic that a movie about time travel can’t be reviewed properly until your future self rewatches the movie. It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see L’origine du monde more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Interstellar actually. (Interstellar had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. L’origine du monde is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with L’origine du monde. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from ‘L’origine du mondeis’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “L’origine du monde” there are McGuffins nested in McGuffins. So much of this is casually waved L’origine du monde as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “L’origine du monde”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of L’origine du monde and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Interstellar”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: L’origine du monde’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that L’origine du monde invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Interstellar) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Interstellar for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with L’origine du monde. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). After nearly three hours, I came L’origine du monde from L’origine du monde not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. L’origine du monde is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly inventive action set-pieces. This time around however, Nolan has finally managed to ‘out-Nolan’ himself: the palindromic plot, whilst creatively ambitious, is simply far too complicated for its own good. L’origine du monde is overlong, overstuffed, pretentious and too exhausting to comprehend in its entirety — it makes Inception and Interstellar look like Peppa Pig by comparison. I’m aware of the technical wizardry and creative mastery in this film and lord knows I’ll have to watch this again. For those who want a puzzle, L’origine du monde at least provides a unique cinematic experience. But to actually enjoy solving it Nolan wants you to work

#l’origine du monde

1 note · View note

mandalisa · 4 years ago

Text

|*HD.Voir” — C’est la vie [-2021-] Film Complet — ((“STREAMING VF”) — En Francais │| C’est la vie (2021) HD `Complet

[[Regarder**|]] C’est la vie ((-2021-)) Film Complet en Français,Voir C’est la vie en streaming version française directement sur Films VF . Film gratuit en streaming.

PLAY==> http://ver.yess-movie.com/movie/tt9162090/c-est-la-vie.html

C’est la vie (~2020~) U 10/02/2021 (FR) Comédie 1h 43m Note des utilisateurs Synopsis Cinq femmes s’apprêtent à accoucher. Elles ne se connaissent pas, ne se ressemblent pas, mais vont se retrouver dans la même maternité pour vivre le plus beau jour de leur vie. Des premières contractions à la naissance, le film retrace leur parcours, entre rires et larmes. Julien Rambaldi Director, Writer Regarder C’est la vie film complet, Regarder C’est la vie Streaming vf, Regarder C’est la vie Streaming Vostfr, Regarder C’est la vie Streaming vf gratuit, Regarder C’est la vie Streaming YouRegarder, Regarder C’est la vie Telecharger, Regarder C’est la vie Film Complet en streaming, Regarder C’est la vie Uptobox, Regarder C’est la vie Film complet en français, Regarder C’est la vie Streaming vf gratuit complet, C’est la vie film complet C’est la vie 2021 film complet C’est la vie film complet en français C’est la vie streaming vostfr C’est la vie film streaming C’est la vie streaming vf C’est la vie film complet en ligne C’est la vie film complet en ligne gratuit C’est la vie film complet en ligne gratuitement C’est la vie film complet télécharger C’est la vie film complet sous-titre C’est la vie film 2021 streaming vf C’est la vie bande annonce vf C’est la vie 2021 film complet en francais C’est la vie 2021 Film Complet Streaming VF Entier Français, C’est la vie 2021 Regarder Film en Streaming en Français, C’est la vie 2021 Stream Film Complet Entier VF en Français, C’est la vie 2021 streaming VF film en entier gratuit, C’est la vie 2021 film complet streaming Vk gratuit, C’est la vie 2021 Regarder Film en Streaming, C’est la vie 2021 Film télécharger Torrent, C’est la vie 2021 film complet en Français, C’est la vie 2021 regarder en streaming, C’est la vie 2021 youtube film entier, C’est la vie 2021 streaming vf youwacth, C’est la vie 2021 streaming en entier, C’est la vie 2021 Regarder Gratuitment, C’est la vie 2021 regarder film streaming, Its somewhat ironic that a movie about time travel can’t be reviewed properly until your future self rewatches the movie. It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see C’est la vie more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Interstellar actually. (Interstellar had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. C’est la vie is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with C’est la vie. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from ‘C’est la vieis’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “C’est la vie” there are McGuffins nested in McGuffins. So much of this is casually waved C’est la vie as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “C’est la vie”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of C’est la vie and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Interstellar”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: C’est la vie’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that C’est la vie invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Interstellar) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Interstellar for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with C’est la vie. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). After nearly three hours, I came C’est la vie from C’est la vie not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. C’est la vie is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly inventive action set-pieces. This time around however, Nolan has finally managed to ‘out-Nolan’ himself: the palindromic plot, whilst creatively ambitious, is simply far too complicated for its own good. C’est la vie is overlong, overstuffed, pretentious and too exhausting to comprehend in its entirety — it makes Inception and Interstellar look like Peppa Pig by comparison. I’m aware of the technical wizardry and creative mastery in this film and lord knows I’ll have to watch this again. For those who want a puzzle, C’est la vie at least provides a unique cinematic experience. But to actually enjoy solving it Nolan wants you to work

#c’est la vie

1 note · View note

juhanati · 4 years ago

Text

||HD.Voir|”Film Complet — ((“STREAMING VF”)) — L’origine du monde [|2021|] — En Francais │ L’origine du monde (2021) HD `Complet

PLAY==> http://ver.yess-movie.com/movie/tt10551904/l-origine-du-monde.html

#l’origine du monde

0 notes